华东师范大学
The notes above were set down for a lecture in 1967, and I find myself now making a few changes to bring them up to date, none of much consequence.(1)I see the case now, there is one point these old notes seem to be driving(2)which never quite gets articulated but which(3)a lot for me these days. It seems(4), in fact; and especially so perhaps in view of the present condition of American poetry. Far more than the reality of the scene, which I nonetheless highly prize, I would call(5)now to the absolute purity of style achieved in this little masterpiece, and effortlessly achieved, (6)to be equaled even by Williams. Other poems by Williams - certainly poems by other poets — are much richer(7)what they encompass;(8)vision is deeper and the character of the poet stands as a more affecting human presence. Often enough the language is more(9). But this poem is perfectly said. Lean, streamlined; and there is(10)extra, no excrescence, no excess, no showing off; nor indeed any shortcoming whatever. We have(11)we see; we have it exactly Art can aspire higher and no doubt, at times, should. (12)not always. I think of Wang Wei: the Chinese effect in general, here(13). I begin to understand how a critic like Winters can argue that the brief lyric may be greater than a complete tragedy, (14)lyric can hope for perfection, a(n) (15)wholeness and unity. One of Williams’ many admirers has written(16)“Between Walls” that since “there is no living thing in the poem - just a mockery of the color of growing plants - the feeling of the poem is ... sterile and airless.” But this opinion can only be the result of an absurd prejudice, probably got up out of some all(17)simple understanding of the organic and the natural. There is no mockery in this green: imitation, yes, and, one might(18)suggest, a certain pathos and bravery in the imitation. There is more to(19)than that, but there is, just glintingly, that. Meanwhile we do have also, thanking the muse of reality, pieces of a broken bottle, the real thing, as good as(20)green leaf here.
A number of books like Reading Faces and Body Language have(1)the individual's tendency to broadcast things through all manner of(2)movement and facial gymnastics. Such matters, made widely familiar by pop sociology, anthropology and psychology, have become the stuff of common conversation. Michael Korda's Power! How to Get It, How to Use It, is mainly a primer in how to(3)others by a cold-blooded control of(4)signals that occur commonly in the workaday world: for example, how executives signal their style of power(5)the clothes they choose and the way they(6)heir office furniture.(7) work or play, everybody emits wordless signals of infinite variety. Overt, like a warm smile. Spontaneous, like a(8)eyebrow. Involuntary, like leaning away from a salesperson to(9)a deal. Says Julius Fast in Body Language. “We rub our noses for puzzlement. We(10)our arms to(11)ourselves or to protect ourselves. We(12)our shoulders for indifference.” Any competent psychiatrist remains alert to the expressions by which a patient's hidden emotions make(13)known. People even signal by the odors they(14), as Janet Hopson(15)in superfluous detail in Scent Signals: The Silent Language of Sex. Actually, it is impossible for an individual to(16)signaling other people; the person who mutely(17) human intercourse sends out an unmistakable signal in the form of utter silence.Sociologist Dane Arche calls reading such signals “social intelligence.” He said, “We must unshackle ourselves from the tendency to ignore silent behavior and to prefer words(18)everything else.” The evidence all over is that(19)people wander the earth through thickets of verbiages, many, perhaps most, do pay more attention to wordless signals and are more likely to be influenced and(20)by nonverbal messages.
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